Understanding Perceptions of Creativity in Online Advertising

The Qualitative Report Volume 15 Number 1 January 2010 37-58
http://www.nova.edu/ssss/QR/QR15-1/mcstay.pdf
A Qualitative Approach to Understanding
Audience's Perceptions of Creativity in Online Advertising
Andrew McStay
London College of Communication, University of the Arts, London, United Kingdom
In this paper I seek to inquire upon audience's perceptions of creativity in
online advertising – a heretofore poorly understood area. This paper
initially outlines current academic understanding of creativity in online
advertising, mainly derived from quantitative assessments. It then
advances a qualitative methodology including diary-interviews and
ethnographic online interviews across 41 participants. My starting point is
a critique of the most comprehensive conceptual intervention in the area
of advertising creativity - Smith and Yang’s (2004) typology of
“relevance” and “divergence”. I assess to what extent this typology
emerges from my participants’ data. Two key features of relevance -
contextual relevance and intrusiveness - are explored in depth, producing
deeper insights into their nature as perceived by participants. Key Words:
Online, Advertising, Creativity, Qualitative, Typology, Diary, and
Relevance
Introduction
Problematising Online Advertising Creativity
In this paper I seek to understand audience's perceptions of creativity in online
advertising. Online advertising is the fastest growing advertising media sector, increasing
to $4.9 billion in the first quarter of 2007 (IAB, 2007). However, due to its comparative
recency (compared to offline advertising) coupled with the complexity of researching
media audiences users’ perceptions of online advertising are poorly understood.
In recent years, more audience research into online advertising has been
undertaken. However, this largely consists of quantitative experimental and survey
research to determine key advertising-related features of online audiences, such as
internet demographics and psychographics (Assael, 2005; Rodgers & Harris, 2003),
perceptions of online advertising's value (Brackett & Carr, 2001; Ducoffe, 1996), online
advertising's interactivity (Liu, 2003; Tse & Chan, 2004), and online advertising's
effectiveness (Dahlen, 2001; Dahlen, Rasch, & Rosengren, 2003; Gallagher, Foster, &
Parsons, 2001; Havlena & Graham, 2004; Martin, Durme, Raulas, & Merisaco, 2003).
There is much less naturalistic, qualitative research focusing on how people perceive and
engage with online advertising (see Phelps, Lewis, Mobilio, Perry, & Raman, 2004), and
even less looking at how audiences perceive creativity in online advertising.
As Bell (1992) points out, creativity in advertising is slightly different from
creativity found in other spheres due to the constraints of marketing objectives, budgets,
the advertising brief, hierarchical approval of creatives’ work and collaborative

38 The Qualitative Report January 2010
constraints. In advertising, the role of a creative department within an advertising agency
is to give form to the strategy for the advertisement - strategy consisting of the target
market, how the advertisement should speak to the target market (for instance, tone of
voice), and the media best suited for reaching that target market. As such, creativity is
the visual and aural component of the strategy made manifest (see Sasser, Koslow, &
Riordan, 2007) for a discussion of how strategy may impede creativity in multiple media
integrated marketing communications [IMC] campaigns).
Ironically, despite the centrality of creativity to determining advertising
effectiveness, researchers repeatedly note the paucity of literature on creativity in both
online and offline advertising sectors (Boyd, 2006; Cunningham, Hall, & Young, 2006;
El-murad & West, 2004; Plummer, 2004; Romeo, Denham, & Neves, 2004; Sasser et al.,
2007; Smith & Yang, 2004; Till & Baack, 2005; Zinkhan, 1993). Only a handful of
researchers have investigated creativity in advertising empirically (Boyd; Koslow, Sasser,
& Riordan, 2003; Till & Baack; Sasser et al.). Smith and Yang also note that major
reviews of the conceptual space of creativity lack any significant reference to advertising
(citing Amabile,1996; Sternberg, 1999). Although this is starting to be redressed with the
expansion of the discourse on the cultural and creative industries from government
(House of Commons, Culture, Media & Sport Committee, 2007) and academia (see
Bilton, 2007), few books on creative industries significantly examine advertising
(Hartley, 2007; Hesmondhalgh, 2002; Negus & Pickering, 2004).
Where creativity in advertising is explicitly addressed, it is found to be the least
scientific aspect of advertising and the least understood or agreed upon concept by
practitioners (Koslow et al., 2003; Ogilvy, 1985; Reid, King, & DeLorme, 1998), lay-
people (White & Smith, 2001) and academics (El-murad & West, 2004). The small
amount of research on creativity in advertising finds creativity to be a complex and
ambiguous term (Ambler & Hollier, 2004), or even a random process (El-murad & West,
p.188), with little research clarifying how creativity happens (see Hill & Johnson, 2004).
Creativity is thus a fuzzy term with multiple meanings and usages depending upon
profession and background.
Given the centrality of creativity to advertising, and the lack of understanding
therein, it is, perhaps, surprising that there is a marked lack of qualitative academic
research into creativity and advertising – both online and offline. As such, I advance a
qualitative methodology to generate insights into a little-understood area - users'
perceptions of creativity in online advertising. Given that I am exploring audiences'
interactions with the online environment, I elucidate a number of methods that enable this
specific, difficult-to-access environment to be understood.
Critiquing Existing Typologies of Advertising Creativity
The most comprehensive conceptual intervention in this area so far comes from
Smith and Yang (2004) (see El-murad & West, 2004 for a discussion of other
typologies). Recognising that no systematic research has been conducted to define
advertising creativity or examine how this relates to advertising effectiveness, they draw
on psychology, marketing and advertising literature to develop a typology of creativity in
advertising offline (which they then use to theorise the broader interface between
creativity and advertising). Of particular significance is their conceptualisation of

Andrew McStay 39
“relevance” and “divergence” each as components of offline advertising creativity.
“Relevance” entails that the advertisement must be “meaningful, appropriate or valuable
to the audience” (Smith & Yang, p. 36). “Divergence” necessitates that the advertisement
contain elements that are “novel, different, or unusual” (Smith & Yang, p. 36). Smith and
Yang argue that advertisements adhering to both divergence and relevance factors are
deemed as creative adverts (see Figure 1). Unsurprisingly, perhaps, given its aggregating
nature, this typology is similar to Runco and Charles’ (1993) measurement model for
creative outputs, which is based on two variables – appropriateness and originality – a
model that Koslow, Sasser, and Riordan (2003, 2006) suggest has become the most
widely accepted.
Whilst each advertising medium is unique, online advertising broadly shares the
same creative principles of advertising as offline advertising, as all advertisers and their
agencies must understand patterns of consumption and design messages best suited to
audiences at the time of viewing. On this basis, and given that Smith and Yang’s (2004)
typology is the most comprehensive typology to date, and given its similarity to the most
widely accepted measurement model for creative outputs, their typology was used as a
starting point with which to explore creativity in online advertising. However, it must be
stressed that this was only a starting point, given the various limitations to Smith and
Yang’s typology, many of which stem from their methodology.
Smith and Yang (2004) develop their typology of relevance and divergence as
components of advertising creativity largely through a literature review of creativity in
advertising, dating back to 1950. They augment this by exploring one practitioner’s
perspective with regards to their hypotheses on creativity. From this, they theorise the
effects of relevance and divergence as components of advertising creativity on consumer
processing and response. However, rather than relying on a literature review and one
practitioner’s perspective (hardly a sustained analysis), I argue that the best to way to
ascertain what divergence, or indeed, relevance, constitutes, and which is the more
important (or effective), is by qualitatively studying audience’s perceptions of advertising
creativity. After all, as mentioned earlier, creativity is deemed central to determining
advertising effectiveness, and the best judge of effectiveness is perhaps the audience
itself (Amabile, 1982; Bell, 1992).
Whilst offering a useful synthesis of various components of creativity, Smith and
Yang’s (2004) presentation of these components is highly summarised, amounting to no
more than a short definition of each component as derived from the marketing and
advertising literature (see Figure 1). For instance, they state that “appropriateness” (i.e.,
“fits its context”) is part of their definition of relevance, but no explanation or insight is
offered into how or why appropriateness manifests itself in creatively relevant advertising
(Yang, p. 35). This thin description (Geertz, 1973) therefore adds little to our
understanding.
Recognising that their definitions of relevance and divergence offer “little
consensus on the processing and response variables employed” (Smith & Yang, 2004, p.
39) (in other words, no information on audience perceptions), they go on to combine their
relevance-divergence typology with an ad processing model (MacInnis & Jaworski,
1989) to identify key stimulus, processing response variables and further theorisation on
advertising creativity. Yet, their theorizations are based on their expectations of
consumers’ responses to the advertising text based on previous models, rather than

actually researching consumers’ responses directly, as at no point do they engage in any
study of the audience themselves.
Figure 1
Conceptualizations of Ad Creativity
Source Divergence factors Relevance factors
Jackson and Messick
(1965)
Unusualness (i.e., infrequent) Appropriateness (i.e., fits its
context), Condensation (i.e.,
warrants repeated examination)
Sobel and Rothernberg
(1980)
Originality (i.e., newness) Value (i.e., worth)
Besemer and Treffinger
(1981); Bellamer and
O’Quinn (1986)
Novelty (i.e., newness),
Elaboration and synthesis
(i.e., stylistic details)
Resolution (i.e. functionality)/
Appropriateness (i.e., solves
problems)
Amabile (1983) Novelty Appropriate, useful, valuable
Haberland and Dacin
(1992)
Originality (i.e., deviates
from expectations)
Meaningfulness (i.e., conveys
meaning), Condensation (i.e.,
warrants repeated examination)
Thorson and Zhao
(1997); Wells (1989)
Originality (novelty of the
creative product)
Meaningfulness/appropriateness/rel
evance (personal concerns or
interests)
Tells (1998) Divergent (different from
what is currently being done)
Duke (2000); Duke and
Sutherland (2001)
Imaginativeness External confluence (similarity with
similar products); Internal
confluence (similarity across
executions within a campaign)
(Smith & Yang, 2004, p. 35)
Qualitative Methodology for Studying Online Audiences
Given the fuzziness of the concept of creativity, and the paucity of qualitative
research exploring both creativity in advertising online and online audiences’ perceptions
of advertising, I explore users’ (herein termed participants) perceptions of creativity in
the online advertising realm.
As a qualitative piece of research, this study is broadly phenomenological in its
orientation. It aims to represent the lived experience of the object of study - in this case,
users’ perceptions of online advertising creativity – and understand how people construct
meaning out of the world about them (Husserl, (1913/1988). In such an endeavour,
researcher reflexivity is important (Morse, 1994). Significantly, my position towards
online advertising is somewhat ambivalent. My early attitude to online advertising was
one of antipathy to the encroachment of commerce online. However as time and this
study (extending over three years) have elapsed, I have become more acquiescent and
accepting. Advertising has facilitated a growth in tools that I regularly use (such as email,
blogs and forums) and I consider it unfair for these product providers not to be paid for
their services. Concurrently I think free services should clearly state their advertising

Andrew McStay 41
remit and offer greater opt-in/opt-out options. Currently, many services are riddled with
adware and spyware – the latter a covert technique that does little to inculcate brand
relations with products and brands advertised. Yet, I also maintain a romantic flame for a
version of a Web predicated on community, open-source and co-modification of online
tools rather than commodification of the Web as an agora in which to announce wares
and brands. Given that my position is riddled with contradiction and tension, I am
arguably well seated to appreciate perspectives from study participants who share one,
both or neither of these views.
Phenomenological research requires the researcher to enter into dialogue with
others to gain experiential descriptions from which transcripts are derived and examined
(Morse, 1994). Phrases from the transcripts are sought that reflect participants’
perspectives. These are then synthesised to identify common structures of experience
(Morse). These structures then provide the researcher with an understanding of the
research object upon which later theory can be developed. This is broadly how this
research was conducted, although the phases were not clear-cut, and reflexivity was
maintained throughout. This research, therefore, uses qualitative hermeneutics to generate
empirical and theoretical insights. Data gathering and qualitative analysis were both
initially guided by relevant theory (on creativity, advertising, online advertising,
audiences, new media and the online environment itself). Nonetheless, throughout the
analysis, and ongoing data gathering, maximum care was taken to allow naturalistic data
to emerge, and to ensure that data was not forced into preconceived analytical boxes.
Initial Data-Collection Techniques
This research blends traditional research tools with those unique to the Internet
environment using Denzin’s (1978, p. 291) method of “triangulation”. Triangulation is
achieved by utilising multiple data sources and data-gathering techniques. Here these
include: closed-ended questionnaires to identify the initial participants for this study;
diaries of these participants’ perceptions of online advertising; interviews with diary-
keeping participants; and open-ended questionnaires conducted online with a specific
online community to widen and deepen emergent findings. Each of these techniques is
explained below.
Arguably, triangulation of data sources and methods, each with its own claim to
representing reality, helps keep data interpretations as close to objective as possible,
reducing distortion from the researcher’s own biases, and so increasing validity.
However, triangulation does not in itself ensure that we are actually measuring what we
intend to measure. Woolgar (1988, p. 29) warns that the researcher must be wary of being
seduced by the idea that different elements in the text converge independently upon the
same external reality. The use of reflexivity helps highlight this issue, if not solve the
problem (although the problem may be reduced since McCall & Simmons, 1969 argue
that validity is increased if the researcher is alert to bias and distortions from selective
interpretations).
A closed-ended questionnaire distributed to one hundred people across a range of
socio-demographic factors, was employed for the purposes of initially finding
participants, and to then qualitatively sample them. There were 41 completed returns.
Qualitative sampling techniques encourage both theoretical development and

identification of patterns since they are concerned with representativeness of concepts
rather than populations (Miles & Huberman, 1994). The closed-ended questionnaire
designed for this study aimed to identify and select participants who fell within various
parameters of “maximum variation” (Miles & Huberman, pp. 27-28), facilitating
documentation of diverse variations and common important patterns. The factors of
variation sought here were those of: time spent on the Internet; the use of the Internet to
buy products and services; and exposure to online advertisements. Variation was also
sought in that participants from a range of occupations were sampled – ranging from
those working within the advertising industry to those whose only experience of
advertising was as an audience. The closed-ended questionnaire identified 13 participants
who were willing to keep a diary. These participants included four people working within
the UK advertising industry, three of which work within the traditional offline advertising
sector and mainly have experience in above-the-line advertising, and the fourth being an
advertising graphics professional who runs his own design consultancy for both online
and offline advertising materials. The other participants comprised a range of
professional people working within the information sector and law; non-advertising
university students, semi-skilled workers from a range of office based environments; “un-
skilled” workers working in a range of environments and the officially unemployed such
as a mother with new born children living in a semi-rural environment. Ages for both
female and male participants ranged between 22 and 60 years, with the gender balance
being split six to seven in favour of females. See Appendix 1 for a breakdown of
participants’ Web usage, shopping frequency and methods of accessing the Internet (this
also details subsequent participants added to the study at a later date as described below).
It was expected that variation in these factors would produce a rich data set, generating
participants with a range of experiences, and hopefully, perceptions of, online
advertising. For instance, those who spend a lot of time on the Internet are likely to be
exposed to a wider range of online advertising than those who spend minimal time
online. Those who are comfortable enough with the Internet to shop online are likely to
be exposed to a range of targeted advertising. Advertising professionals are likely to have
a different relationship and understanding of their own consumption of online advertising
compared to lay-people.
Informed consent (Mann & Stewart, 2000, p. 48) was generated from participants
at this recruitment stage. Participants were informed about the research’s broad
intentions, about who would see their data, and in what form. Complete confidentiality
was also guaranteed. In generating informed consent, many participants required
anonymity and so this paper refers to participants by background, industry, economic and
professional status rather than by name.
Having selected the initial 13 participants, a naturalistic account was sought of
their perceptions of online advertising. Although direct observation would have been
preferable, due to the personal and private nature of individuals’ typical Internet usage,
this would have been impossible to achieve without inculcating an observer effect
(Bogdan & Bilken, 2003) and invalidating the collection of naturalistic data. To
circumvent this, the interpretive micro-ethnographic research technique diary interview
method, where a diary-keeping period is followed by an interview asking detailed
questions about the diary entries, was used as one of the main tools of data gathering
(Corti, 1993; McDonough & McDonough, 1997).

Andrew McStay 43
Elliott (1991, p. 77) prescribes that a diary should contain introspective accounts
of an individual’s feelings, attitudes, motives and understandings in relation to things,
events and circumstances and should be kept on a continuous basis. It is utilised here as a
first-person account of participants’ reactions to online advertising. As Bailey (1990, p.
215) also notes, the diary should be documented through habitual, candid entries in a
personal journal and then analysed for recurring patterns or salient events. Although
diaries are generally considered as an open-ended narrative genre, the diaries that
participants were asked to keep here contained thought prompts. For instance, they were
asked to reflect on how they felt when an uncannily targeted email arrives in their inbox,
or, if there was anything particularly notable about advertisements that they decided to
engage with. The diaries employed were relatively structured, for two reasons. Firstly
structured diaries helped respondents to understand what they were asked to reflect upon,
circumventing them from not using their logs because of fear of a “getting it wrong”.
Secondly, structured diaries encouraged the recording of information contemporary to the
moment as opposed to being filled in entirely retrospectively.
Although the diary guided participants’ reflection on specified fields, it was
constructed to maximise rich qualitative data. Participants were also urged to be as candid
and free-flowing in their notes as possible. However, as McDonough and McDonough
(1997, p. 124) note, diaries cannot be expected to be a “true record” of events. Although
users were encouraged to log their thoughts as events occurred online, I expected that at
least part of the diary would be retrospective. This need not detract from the
autobiographical voice however – if the diary conveys a sense of what it was like for the
user to be at their terminal, at a specific time, at a given site then it fulfils a purpose
unachievable through any other means.
In line with other diaries aiming to capture frequent and everyday activities, such
as the Office of Population Censuses and Surveys’ National Travel Survey and the Adult
Dietary Survey (Corti, 1993), seven-day diaries were used. This period was long enough
to capture behaviour or notable events without jeopardising successful completion by
setting research candidates an onerous task: a longer data collection period would have
been unlikely to yield richer data due to participants’ boredom, tedium and undesirable
retrospective entries – a finding later confirmed by participants.
The design of the diary was heavily influenced by Corti (1993). The diary was
provided in the form of an A4 booklet of 15 pages. A “Plain Language Statement” (Mann
& Stewart, 2000, p. 48) was included (see Appendix 2), describing the aims of the project
and what the findings would be used for. The inside cover page contained instructions on
what was expected from participants in the completion of their diary. Language was
colloquial yet informative and stressed the importance of recording events and thoughts
as soon as possible after the occurrence. This page also urged the respondent not to allow
diary-keeping to affect their normal, everyday responses and practices regarding online
advertising. This section also re-iterated that complete confidentiality was guaranteed.
Within the diary, a brief description was offered of the range of online advertisements
that participants were likely to encounter. These were put into plain language to facilitate
participants’ understanding. The diary offered some illustrative answers of how
participants’ diaries could be completed. Although this could arguably bias the method of
diary entry, it also gave respondents a format of how to enter their thoughts and events
thus relaxing the respondent and hopefully engendering greater honesty in their entries.

This was done by using a range of colloquial language and including reference to deviant
websites such as pornography.
Each page denoted a day broken down into 24-hour periods. Pages were clearly
ruled with prominent headings and ample space to enter desired information (what
advertisements were being viewed, were they interactive and what was the nature of
engagement, in what Web context, what time and how they felt at the time). At the end of
the diary, I asked participants if the diary-keeping period was atypical in any way
compared to their usual Web-based activities. Participants were also asked to comment
on their diary-keeping process and clarify any peculiarities relating to their entries. In
accordance with Corti’s (1993) method of diary data-collection, I ensured that diaries
were collected personally so as to clarify any problems with the completed diary and to
facilitate the post-diary interview (where possible diaries were also distributed, and
explained, in person, depending on the geographical location of participants).
I did not expect participants to be able easily to recall reactions to, and usages of, online
advertising days or weeks after the event. As such, post-diary interviews were conducted
with diary participants on collection of the completed diary, soon after the completion
process (no more than several days later). The diary entries proved extremely useful to
conducting the interviews. At their best, diaries provided a rich source of information on
respondents' behaviour and experiences on a daily basis that could be further explored in
interviews. At their worst, diaries provided points of entry into the interview, prompting
participants to reflect further on what were sometimes, minimalist entries.
Thus, interviews were used to frame and explore the overall perspectives held by
participants. The post-diary interview served three purposes. Firstly it allowed me to
collect the diary in person thus helping to ensure diary completion whereas a postal return
may have resulted in an uncompleted diary. Secondly, it allowed participants to be
thanked and rewarded for taking part in the project. Thirdly, it allowed the participant
time to reflect on the process of the diary project and to garner and discuss after-thoughts
away from the computer, so leading to a more complete and considered perspective on
their perceptions of online advertising. The interviews also exposed participants’ gaps in
knowledge and misunderstandings of online advertising and associated technical
processes. No attempt was made to fill in any of these knowledge gaps, as this would
have biased their perceptions of online advertising. Although topics and themes of
discussion were intended to arise out of participants’ experiences, common questions
involved assessing: whether their week was atypical in any way, what kind of formats
caught their attention, advertising they felt negative about, any sense of personalisation,
factors that engendered trust and any specific factors that may have created empathy with
an advertisement or an advertiser.
To facilitate relaxed topical dialogue this research utilised a semi-structured
interview format. Mason (1996, p. 38) uses the term “qualitative interviewing” to refer to
in-depth semi-structured or loosely structured forms of interviewing. Burgess (1983, p.
102) describes semi-structured interviews as “conversations with a purpose”. Rather than
being a formal question-and-answer process, semi-structured interviews tend be more
discussion-based in format. For the purposes of recording interviews, this research
utilised an Apple iPod and a small Belkin microphone that plugs into the iPod. This
ensured that data could be transferred directly into my computer. Usage of the iPod may
also have helped to alleviate participants’ nerves as the machine operates silently and

Andrew McStay 45
unobtrusively as it is primarily a music player rather than a voice-recorder. The quality of
recording is also much higher than tape.
Establishing Qualitative Themes and Ongoing Data-Collection Procedures
As McDonough and McDonough (1997) point out, diary material of this nature
fits into data-first procedures. This fits particularly well with the exploratory nature of
this study. Although participants were broadly guided in what to consider entering into
their diary, this research expected the most important information to lie in the minutiae of
their entries, and in post-diary interviews. Therefore themes and recurrent notions had to
be “teased out” from the mass of data. Themes were established in accordance with
Rudestam and Newton (2001) and Moustakas (1994) who suggest the qualitative
researcher isolate key meanings of the participant’s experience and organise the
unchanged meaning units into themes. Themes were developed in a circular fashion in
that a number of key pre-existing notions and theories were already initially present as a
lens to analyse the emerging data. These initial themes were derived from reflections
upon the literature reviewed and methodological tools. New themes were generated as
data analysis was conducted. Previous data was then combed and re-combed as new
themes emerged. That is to say, as a theme appeared to emerge, I reflected upon the
relevant literature and/or sought new literature to understand the relevant and key
concepts within the theme; looked back across the entire data set for examples to solidify
and deepen the theme; and analytically married data examples with concepts from the
academic literature where relevant. Throughout this process, I constantly interrogated the
data and literature to seek deeper understanding of the emerging theme.
As themes emerged and consolidated, further data sampling was initiated in order
to explore emerging themes more deeply. This involved two processes. The first was a
return to diary participants to ask further questions, and to clarify points. This took the
form of follow-up emails to enquire on avenues of data either requiring greater detail in
aiding interpretation from participants or to aid in developing a notable theme or sub-
theme that had emanated from participants. The second process that was initiated
necessitated data collection from a more specific set of users. In line with theoretical
sampling (Glaser & Strauss, 1967), that is sampling based on emergent theory, it became
clear that more participants with exposure to a range of online advertising were needed.
Such participants needed to be heavy online users as this would ensure maximum
exposure to online advertising in terms of frequency and exposure to new advertisements,
and it was deduced that regular users of online discussion forums would fit this profile.
To this end, 28 further participants were recruited and semi-structured interviews were
conducted utilising the same sampling process of “progressive focussing” (Sapsford &
Jupp, 1996, p. 79). It should be stressed that investigations of this nature do not attempt to
represent statistically the correct proportions of different types of individuals in the
population (Sapsford & Jupp), but rather aim to select participants that are likely to
generate qualitatively rich and relevant data, so enabling theory-building. The number of
28 finally emerged as by this point, no new themes or sub-themes were being generated
(as established by on-going data analysis).
With the 28 new participants, the whole interviewing process took place online,
and the participants were all recruited from a discussion forum – snowHeads – with

which I was already inculcated as an insider (having been a participating member for
over a year). I was therefore familiar with the codes and conventions of using this forum,
and already had an online presence as a regular contributor. Indeed, this was the most
ethnographically-focussed part of the work as I engaged in participant observation with a
group with which I was already inculcated, so occupying the position of complete
participant on the “participant-observer continuum” (Gold, 1969, p. 30). Thus,
relationships of trust and understanding were already in place between the researcher and
participants, although I also had to clarify online my particular interest in pursuing this
line of questioning in a thread on snowHeads. Again, informed consent was sought, and
anonymity guaranteed.
The discussion forum, snowHeads, describes itself as a skiing and snowboarding
forum for those interested in all things ‘snow’. It is populated by people mostly from the
UK, from a range of backgrounds, although many are professional and relatively wealthy
(in line with the profile of those who engage in snow sports). I noted throughout the study
that the majority of their responses were better informed about advertising and marketing
techniques than other participants in other demographics, although their overall
perceptions were as broad as the initial 13. This skew in demographics was felt to be
acceptable given the exploratory nature of this study. To recruit participants, the forum
administrator was contacted for permission to place a semi-structured questionnaire (see
Appendix 3) in the Après Zone, a general conversation area of the forum where topics
outside of snow-related events are discussed. The questionnaire sought general
perspectives on online advertising, including creativity, this latter aspect notably more
directed than in the diary-interview research method. When questionnaires were
collected, willing candidates were contacted for further discussion that was conducted
through both traditional and non-traditional communication channels.
The advantages of using online questionnaires and discussion forum threads was
that participants could respond at a time convenient to them, and also, if they wished,
engage in real time conversation with me via Internet Relay Chat (IRC) or telephone. The
subsequent conversations were conducted privately, rather than in the public chat room
space, this ensuring confidentiality and anonymity within the online community (Jones,
1999; Mann & Stewart, 2000). Drawbacks of interviewing online in this way are that
online materials may not be given the attention the researcher hopes. In this sense they
may have ephemeral characteristics (Thatch, 1995) in that they do not contain the same
gravitas or real-life significance that a diary might. However, the fact that these online
questionnaires were followed by regular subsequent contact arguably facilitated an
attention level worthy of study.
Data-First
Starting with, and delving into, a range of participants’ perceptions allows the
researcher to avoid imposing researcher-derived, or indeed, industry-derived
understandings and preconceptions of the concept of creativity. However, research does
not operate in a vacuum, and prior to conducting the research with participants, I
sensitised myself to possible avenues of user perceptions of online advertising creativity
through a literature search. As explained earlier, Smith and Yang’s (2004) typology of
creativity and advertising offline was used as a starting point, with the assumption that it

Andrew McStay 47
would aid understanding of advertising and creativity online (see Figure 1). Smith and
Yang’s typology was augmented through wider reading regarding on advertising and the
online environment, exploring the role of media planning, personalisation, intrusiveness
and interactivity. These literatures were accessed throughout the study - some before the
participant study was conducted, and some in conjunction and afterwards, in order to
more fully understand emerging themes.
Care was taken to attempt not to lead participants in any way, however, most
notably by delaying interviews with participants until they had completed the week-long
diary on their exposure to, and thoughts about, online advertising. Furthermore, in diaries
and in post-diary interviews, creativity was not explicitly asked about, instead
encouraging participants to record what online advertising they were exposed to, and then
exploring what aspects of the adverts worked (or otherwise), or were memorable or
noteworthy, for participants. As new participants were sought from the Web forum, a
more focussed and direct approach became necessary to explore more deeply some of the
emergent themes on creativity from the initial stages of the research. Again, care was
taken to minimise leading participants in that only one out of the eight questions were
explicitly on creativity. Other questions invited answers that may have been of a creative
nature (such as “any last thoughts on online advertising you want to share?”) Throughout
the data-collection process, much interpretive work was done to understand and
amalgamate this unstructured data into insights about creativity. As a result, sub-elements
of Smith and Yang’s (2004) typology are referred to in this paper, but only where they
emerged in the data generated from participants. As well as revealing which aspects of
Smith and Yang’s over-arching typology occur in the online advertising environment,
more importantly, this research elaborates on how and why, also generating sub-themes
that were absent from the typology. In this way, a more meaningful explanation of
creativity in online advertising emerged.
Limitations
This research is small-scale and qualitative in design, therefore in no way can the
findings be generalised to wider populations. However, hopefully this is mitigated by the
depth and variety of subject positions and perceptions towards online advertising that
could not have been unearthed from a survey-type, broader-based analysis.
The phenomenological method itself is open to critique. Arguably individuals are
made up of multiple selves, personas and multiple realities. There is also an issue with
adopting the subjective position of the “other” and subjective researcher bias. However,
because participants were contacted subsequent to the data collection and during ongoing
analysis of research materials, there were opportunities to clarify ambiguous thoughts,
phrases and expressions. Furthermore, as Goulding (1997, p. 865) argues,
phenomenology is still the embracing position for much qualitative research.
Key Findings: Participants’ Perceptions of Relevance
Whilst both relevance and divergence were explored in my study, for reasons of
brevity, the rest of this paper focuses solely on the concept of relevance rather than
divergence, and only on two of its key features - one that Smith and Yang (2004)

identified as a component of creative advertising (contextual relevance), and one that
they did not (intrusiveness). The focus on relevance also stems from a wish to extend the
literature on understanding of effectiveness in online interactive advertising that is well
explored using quantitative approaches (Dahlen, 2001; Dahlen et al., 2003; Gallagher et
al., 2001; Havlena & Graham, 2004; Martin et al., 2003), yet little understood in
qualitative terms. That is to say, where user clicks and metrics are well analysed, a more
robust qualitative analysis of effectiveness and relevance is not. Within this, focusing in
on contextual relevance – a theme both in Smith and Yang’s typology and generated from
my study of participants I highlight that their typology has utility in classifying online
advertising creativity. In focusing in on intrusiveness – a theme absent in Smith and
Yang’s typology, I highlight that their typology is incomplete. For completeness, Figure
2, Column 1, highlights those elements of Smith and Yang’s typology that did not emerge
in this study, either suggesting features unique to the offline advertising realm or
irrelevant to participants. Figure 2, Column 2 highlights elements in Smith and Yang’s
typology that also emerged from this study, thereby indicating the transferability of these
elements of offline advertising to online advertising. Where appropriate, I have grouped
together similar aspects of Smith and Yang’s typology, and given them a new label.
Figure 2, Column 3 highlights elements derived from participants and absent in Smith
and Yang’s typology, suggesting features unique to the online advertising realm.
Figure 2
Components of Relevance
Contextual Relevance
Smith and Yang’s (2004) relevance category of creativity includes
‘appropriateness’ in terms of fitting its context – here termed contextual relevance.
In Smith & Yang and
not affirmed by
participants
In Smith & Yang and
affirmed by participants
Additionally derived from
participants
Meaningfulness (i.e.,
conveys meaning)
Appropriateness (i.e., fits its
context) - here termed
Contextual relevance
Intrusiveness
External confluence
(similarity with similar
products); Internal
confluence (similarity
across executions within
a campaign)
Value (i.e., worth), Resolution
(i.e., functionality)/
Appropriateness (i.e., solves
problem) / Appropriate, useful,
valuable – here termed
Usefulness
Interactivity
Meaningfulness/
appropriateness/ relevance
(personal concerns or interests)
– here termed Personalisation
Condensation (i.e., warrants
repeated examination) – here
termed Frequency of exposure

Andrew McStay 49
Contextual relevance is about relevance to the context of viewing. As Cho (2004, p. 93)
notes, anything that impairs efficient interactions between advertisers and consumers
such as timing, placement or size of advertisement, can affect perception and be viewed
as clutter. In discussion of out-of-home work activities and exposure to online
advertising, Participant 22 sums up participants’ intense dislike of pop-up adverts in
terms of context, timing and irrelevant offerings. He comments:
[…] because they get in the way of what I am looking for. I never ever
read them and delete them immediately. I particularly dislike it when they
make the ‘x’ [the symbol that closes windows on PCs] difficult to find.
(Interview, April 24, 2006)
In discussion of display online advertising and relevance, Participant 24 (a non-
advertising professional) comments that the advertising viewed has:
[…] no relevance to what the page is about anyway. In a nutshell I don't
like advertising at all, and it normally puts me off the product, if I need
something I’ll actively search it out and compare different products/prices
before I decide and I really don't think excessive in your face advertising
really works. I guess everything from the home page to a pop-up is
advertising but I tend to draw a line once I get to a homepage or an
"independent" site and not really think of it as advertising because it is
giving me the technical information I am looking for. (Interview, April 9,
2006)
It is pertinent to note Participant 24’s distinction between advertising and Web
pages. Whereas what she considers to be advertising is push based, what she considers as
desired “technical information” - Web pages - is pull based. As such advertising is
considered as innately irrelevant and status of relevance can only be attained when
materials are requested. Yet, the UK’s Advertising Standards Authority (ASA) counts
websites, as well as advertising on websites, as materials for investigation should an
infringement occur. Users’ perceptions of what constitutes online advertising highlights
the shift towards wider communication (IMC) strategies and for branded content to be
embedded within the copy and the overall feel and architecture of a site or homepage.
Participants’ complaints of push online advertising were virtually identical in that
many advertisements were not relevant to the page they were viewing. Whereas search
advertising was considered highly relevant to participants’ reasons for being online,
display advertising was almost without exception considered irrelevant. Referring to
search advertising, Participant 25 comments: “Google's got it about right” later
describing their search links as “at least somewhat relevant” (Interview, April 11, 2006).
Participant 35 similarly notes that online advertising is relevant for: “Informative stuff
which comes up when you Google something that you particularly want to buy”. She
sums up her view of online advertising commenting that: “Most of it is a pain. If I want
to buy something, I will look specifically on a search engine” (Interview, May 24, 2006).
Participant 16, a computer programmer who displayed extreme weariness of advertising
solicitations conceded, “although I do find that occasionally the Google ad campaign ads

highlight specific points, but very, very rarely” (Interview, April 10, 2006). A key notion
to arise from participants is advertising as information providers. This fits with the
overall dynamic of the Web as an information retrieval system, and advertising that
works within informational flows rather than against them appear to fare well.
Arguably, contextual placing of advertisements may have led to participants not
noticing well-planned media purchases, but the vehemence with which they argued to the
contrary was significant. Participants complained about the lack of relevance of display
advertising to the product advertised as well as the lack of relationship of advertisement
to the site viewed. Participant 24 comments: “Honesty rather than flashy non-product
related clever adverts would be better - i.e., some advertising person thinks that it relates
but all I think is "what has this got to do with it?”" (Interview, April 9, 2006).
Participant Four (a professional graphic designer) also describes the need for
relevance of advertisements and hyperlinks to other commercial sites. He illustrates well
the nature of relevant hyper-linking if advertisers are to successfully garner attention for
their products and services.
I would think, unless I’m leisure surfing there’s usually something specific
I want to find out or do but then I end up getting sidetracked and end up
on a coffee site and think shall I buy coffee from ….., oh that’s interesting,
it’s shown how I should make it, or that I didn’t know it is that easy to get
it, or there’s an interesting book or an interesting museum and I will sort
of follow those routes down rather than actually, erm, an insurance
company pop up […]. (Interview, April 13, 2004)
Rather than following display advertising such as banners, pop-ups and arguably
crude methods of solicitation, participants need to experience a deeper sense of relevance
gained through brand association. In the same way that branded offline stores maintain an
internal logic in terms of flow, product areas and the guiding of consumers, Participant
Four similarly eschews advertising and marketing that bears no relevance to him
Thus, Smith and Yang’s (2004) category of appropriateness in terms of fitting its
context appears to be highly applicable to users’ perceptions of relevance in online
advertising. Through this qualitative approach, however, we now have insights into what
contextual relevance constitutes as regards online advertising – namely, relevance to the
Web page the participant is viewing and hyperlinks therein, relevance to the context of
viewing and relevance to the product advertised. We also have insights into how and why
contextual relevance works in online advertising.
Intrusiveness
Intrusiveness is arguably a highly effective advertising strategy used to gain
attention by any means necessary (McMillan, 2004). Whilst intrusiveness does not appear
in Smith and Yang’s (2004) typology of creativity, it emerged as an important factor
influencing participants’ conception of relevance.
Participants tended to prefer non-intrusive adverts on the basis of simplicity and
clarity: “I liked the simplicity of the John Lewis ads, erm, they were usually very good,
fairly discreet laid back and not in your face” (Participant Two, Diary, March 11, 2005).

Andrew McStay 51
Participant 11 enjoyed a range of advertising texts citing in particular a campaign for
Sony Ericsson:
[…] what I liked about it, was that it was something that came up spun
round a couple of times and went ‘Ericsson, blardy blardy blah cool
phone’ and then disappears again and I didn’t see it again ‘til probably the
next time I logged on and I saw it after then two or three times but it sticks
in my head as a good piece of time and I didn’t find it too intrusive. I
actually looked at and thought that’s quite cool. (Interview, August 26,
2005)
Notably, this advertisement was short, containing graphics in keeping with the
Sony Ericsson brand image, a brand of phone that he uses. More commonly, participants
complained about online advertising upsetting their Internet usage and the ability to
perform a function online. The fact that certain types of online advertisement refused to
go away upset participants. In reference to pop-ups, Participant 13 complained:
[…] it’s like a foot in the door, door-to-door salesman type thing, that’s
what that reminds me of. Totally, totally intrusive. Absolutely in your face
and won’t go away. Which one would like to think is a thing of the past…
door-to-door salesman, you certainly don’t want that on your computer.
(Interview, February 16, 2005)
Another example of intrusive push-based visual design comes from Participant
Nine, who complains about the fact that pop-ups hamper the viewing of a desired Web
page: “It’s just big and noisy. They’re bloody big and fill the screen up” (Interview, April
1, 2005). In addition, Participant Thirteen describes how online advertising disrupts her
Internet usage by impeding her ability to perform a function online:
And the accompanying ad which was again like one something was placed
slap bang in the middle of the Web page obscuring the link I actually
wanted to click on; and it was really bloody annoying, it was right in my
face and didn’t go away either. … I just find the whole thing totally quite
intrusive. (Interview, February 16, 2005)
An example of online advertising upsetting users’ Internet usage through
impacting on their mental state comes from Participant Three:
I can actually ignore the top of the screen but when you have your mail
box on the left hand side of the screen and then spinning eBay images on
the right hand side of the screen I find that extremely distracting…. It’s
pulling my eye to the ad that either I’m attracted by that motion but I’m
being distracted from what I want to be on that website for. (Diary, March
3, 2005)

The intrusiveness of online advertising upsetting users’ Internet usage through
impacting on their mental state is explained by Participant Five:
The one that really annoyed me mostly, erm, probably ‘cos it was
Valentines day and I hadn’t received any Valentines cards, something to
do with being a sad singleton, and erm I had to click onto Streetmap as
usual and I noticed this banner ad for the Hilton and it was really rubbish
and it had these expanding hearts that kept growing and filling the screen
and then there was these words that flashed up stating something like: take
your perfect someone to the Hilton for the weekend and had prices that
were really pricey and they just kept flashing and changing colour. And I
don’t know - when I was trying to do my work and filling all the little
details and find out all the estate agents - it really irritated me. (Interview,
March 25, 2005)
The intrusiveness of this advertisement appears to come not only from its push
factor (it was unavoidable), but from the fact that it crudely intruded into this
participant’s life on an emotional level, with an incorrect assumption regarding the
subject position of the user, thereby touching a raw nerve, and in a work-based context.
Intrusiveness thus linked to a mismatch between the advertisements’ projected subject
position and the actual subject position of the user. Given that advertiser intrusiveness is
such a topical debate within both the online and the offline sector (Mehta, 2000; Shavitt,
Vargas, & Lowrey, 2004) it is surprising that this issue has not been addressed to greater
depth by agencies working with the Web.
Describing how certain forms of online advertising are intrusive in terms of
getting in the way of working and leisure practices, Participant 11 contrasts the situation
with television where there is an accepted agreement between commercial content
providers and viewers. When asked whether he found online adverts indiscriminate he
comments:
[…] unsolicited is probably a better word to use that you know if you
watch ITV you expect an ad break every 15 minutes and you know you
are going to one and you make the choice whether you are going to watch
them or leave the room. With a computer you are not aware of what you
are about to bump into and it’s only once it has spent its time downloading
itself onto your machine and it’s already downloaded that you can be
subjected to it, erm, I do find it a little bit too intrusive. Like I was saying
before about banner advertising I find it less intrusive because it loads up
as part of a page and y’know within a couple of lines it’s telling you about
a product. (Interview, August 26, 2005)
Specifically it is the over-use of rich media that has annoyed participants,
contravening respect for personal space. Although claiming higher click-through rates
(IAB, 2004), participants have largely complained about push-oriented advertisements
that contain excess movement without adding anything to the advertising idea of the
campaign or execution. Participant Three similarly remarks:

Andrew McStay 53
… if it distracts me from what I’m doing merely by the fact that it
vibrates, spins, turns cartwheels, whatever, I immediately dismiss it as far
as I can from my consciousness and it actually has a very negative
effect… I am seriously considering purchasing a laptop and I would
neither go to Dell nor EBay specifically because their ads annoyed me.
(Diary, March 3, 2005)
As Shea (1994) observes, users in the online space do not appreciate having
materials they are not interested in being forced upon them. Furthermore, the use of
intrusive media is certainly not appreciated. Advertising of this nature ignores several key
rules of netiquette (Shea) including privacy, performativity (looking good), knowing
where they are in cyberspace and abuse of power in that advertisers are forcing
themselves into users’ viewing areas.
Participants deemed non-intrusive adverts as those that were simple, clear, short,
predictable in location and form, and generally with non-distracting visuals in keeping
with the brand’s image and the central advertising idea. For example, Participant One
(Diary, June 19, 2005) highlights an advertisement for Expedia observing:
“Lovely blue strip – Neat ad. Bags with travel destination tags changing
quickly, ending with “Book Now”. Reminds me (1) I need to book a
holiday and (2) Expedia were good last time I used them - the perfect ad!”
This builds on Ducoffe’s (1996) observation that low intrusiveness values online
are intimately connected to timeliness, convenience and relevance. Participant Thirty
Seven notes that timeliness is a key factor. Although she generally dislikes advertising
and marketing, she appreciates:
suggestions of other products that have been bought in conjunction with
what you have already opted into buying. Sometimes they are very good
suggestions and I like to buy things in bulk off the Net cos it saves on
delivery cost. Apart from that I can’t think of any because I hate being
marketed to. (Interview, April 11, 2006)
Key facets of intrusiveness were disruption to participants’ work practices,
Internet usage, state of mind and thought patterns. Reflecting a common sentiment,
Participant 19 states: “Most, nearly all, online advertising is annoying, time wasting,
bandwidth wasting and invades personal privacy and personal control over what you see”
(Interview, April 10, 2006).
Discussion
In assessing participants’ descriptions and accounts of creativity within online
advertising, Smith and Yang’s (2004) overarching theme of relevance accounted for the
majority of perspectives, although some additional sub-themes were required to flesh out
the usefulness of this over-arching analytical category. By utilising a qualitative, user-

centric methodology, in discussing just two of the sub-themes – contextual relevance and
intrusiveness - we now have a much richer understanding of how users perceive
creatively relevant online advertising.
Contextually relevant advertising is advertising that works within the
informational flows that the Web is used for, and this includes timing as well as content,
with display advertising largely deemed as irrelevant whilst search advertising is
considered so relevant that it is not even perceived as advertising. Although long
promised by agencies and soothsayers this scenario appears to be a desirable outcome for
users as well as advertisers, although with caveats. Although participants were not
directly asked about opt-in/opt-out advertising there appeared to be a consensus that
highly targeted and personalised advertising was acceptable although many participants
remained distrustful of advertising online both in terms of content and providers. This
may have significance for more recent developments regarding tie-ups between Internet
service providers and advertising providers that require users to opt-out of advertising. As
such, advertising that offers users a sense of self-determinism and asks participants to
opt-in may fare better than advertising requires participants to opt-out, particularly if an
incentive is offered. This is arguably more so online than offline, which is predicated to
some extent on passivity, rather than high involvement media such as the Web (Johnson,
Bruner, & Kumar, 2006).
Intrusiveness arising from disruption is also common across other forms of
advertising. Shavitt et al., (2004) note that each platform maintains varying levels of
perceived intrusiveness. These range from media that are self-selected advertising
experiences, for example catalogues and business classifieds, to televisual advertising
which is deemed to be the most intrusive of traditional media formats. Across the entire
spectrum of demographics, media that offer self-selecting advertising experiences were
deemed the least intrusive. Although online advertising is allegedly more empowering to
consumers through the growth of pull advertising formats, this study suggests that these
seem to only hold true for the larger brands. In contrast smaller advertisers utilising push
formats ensure their presence and result in the viewer being unable to modulate their
consumption. Indeed, to some extent the high accountability of the pop-up format
through its click-through response rate, explains its success, even though positive
branding levels are low with this advertising form. Although the advertising industry
signals a wider shift towards less intrusive formats, users’ experiences appear to indicate
the contrary due to annoyance with less familiar brands.
Future Research
As online and digital advertising continues to develop, deeper assessment of their
impact will be required. This paper has focused on microelements of users’ daily
experiences and it will be useful for other aspects to be understood and taken into
consideration, for example the role that issues such as dataveillance play in understanding
user orientation to online advertising artefacts. In addition, as mobile and locative
advertising eventually succeed online as the most popular digital format, it will be useful
to similarly gain qualitative insight into usage and perception of creativity in mobile
advertising usage. Although digital technology readily lends itself to large-scale
quantitative analysis, small scale qualitative lends a degree of understanding

Andrew McStay 55
hermeneutically impossible to achieve otherwise. This has significant bearing not only
for academic understanding, but also for creators of digital advertising interested in how
the form and content of their messages will be perceived and acted upon.
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Author Note
Andrew McStay is a Senior Lecturer for London College of Communication,
University of the Arts London. He is author of "Digital Advertising" published by
Palgrave-MacMillan late 2009 and is currently working on a monograph entitled "The
Mood of Information: Online Behavioural Advertising" to be published by Continuum
early 2011. Other papers and book chapters examine: advertising, consumerism,
dataveillance, ethics, interactivity, marketing, privacy and viral culture. He can be
contacted at Faculty of Media, London College of Communication, University of the Arts
London, UK; Email: a.mcstay@lcc.arts.ac.uk
Copyright 2010: Andrew McStay and Nova Southeastern University
Article Citation
McStay, A. (2010). A qualitative approach to understanding audience’s perceptions of
creativity in online advertising. The Qualitative Report, 15(1), 37-58. Retrieved
from http://www.nova.edu/ssss/QR/QR15-1/mcstay.pdf

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